Contributed by Jonathan Goodman / In “Mettle,” Stacy Lynn Waddell’s expansive show at Candice Madey, the artist embraces different cultures throughout the world: Malian life in the 1960s; nineteenth-century American painting reflecting burgeoning capitalism; and seventeenth-century Dutch flower painting.
Contributed by Sharon Butler / When Nathaniel Robinson takes the train from Brewster, New York, down to the city, he snaps pictures along the way. Hastily cropped and blurry in some areas, these images have become the basis for a series of sublime paintings on view at Devening Projects in Chicago.
Contributed by Sharon Butler/ At Chart, Karin Davie, in her first NYC show since 2007, has moved with elegant decisiveness from pop-inflected stripes, slapdash and dripping, to wide, sine-wave brushstrokes that gently oscillate in glowing geometric formations.
Contributed by Jonathan Goodman / Caroline Kent, a painter based in Chicago, is having her first show at Casey Kaplan. She makes schematic abstract paintings, which have aspects of doubled, mirror-like imagery. An underlying fiction of her art is the presence of twins, Victoria and Veronica, who speak to each other and to the painter’s audience via the works she creates. Kent’s sign-like abstraction involves a set of symbols whose meaning depends not on any explicitly prescribed content but rather on their visual orientation in terms of form and placement.
Contributed by Jason Andrew / Amy Lincoln’s soaring trajectory has locked in the natural world, the phenomena within it, and the epic world of myth. Ten new paintings now on view at Sperone Westwater embrace these pervasive elements while exploring a bold new theatrical space.
Contributed by Fay Sanders and Bob Szantyr / This year much of the work at Spring/Break is engaged with our tenuous grasp on truth, along with themes of Catholic iconography, shame and marginalization, Medieval craft, and speculative and mythological imagery that is readily framed as heretical in a puritanical, Western sense.
This excerpt is from a book Peter Dudek is writing about his years in academia, teaching art. Many of the conversations and stories came about in class, during faculty meetings, or over dinner & drinks with other artists who teach.
Contributed by Laurie Fendrich / What a mess. And today was doomsday. Eliza Netsua couldn’t get back to sleep, so she dragged herself out of bed at five a.m. Her loft, long ago a sewing sweatshop renovated only insofar as the splintery floors had been sanded and the walls slapped with multiple coats of white paint, was already hot and stuffy. A full-on August heat wave in New York. The gallery was closed for the month and, moreover, it was Monday, a day even she, the assistant director, wouldn’t ordinarily be working….
Welcome to the Two Coats of Paint painting-centric guide to gallery exhibitions in New York City. There’s a lot to see this month. We’re in the thick of hurricane season, with Tropical Storms Kate and Larry currently brewing over the Atlantic, so let’s hope inclement weather doesn’t get in the way.
Contributed by Ken Buhler / Imagine the most elaborate, fanciful and bizarre fairy-tale like sand castle possible. Ferdinand Cheval’s masterpiece, Le Palais Idéal, is teeming with, octopi, dragons, ostriches, flamingos, lions, elephants, deer, plants, gods, fairies, giants, and historical figures all interwoven with architectural forms whose references include Hindu, Buddhist, and Egyptian temples, Islamic mosques, and Swiss chalets.